安东尼娅（马吉莉塔·贝 Margherita Buy 饰）是一名专门研究治疗艾滋病的医生，触摸她的丈夫在一场车祸中不幸丧生，触摸爱人的死让安东尼娅陷入了悲痛和绝望之中，久久的无法从阴影中走出来。让安东尼娅没有想到的是，丈夫生前竟然背叛了自己。实际上，他是一名同性恋者，有一个名叫迈克（斯蒂芬努·阿科西 Stefano Accorsi 饰）的情人。无法解开心结的安东尼娅决定去见一见迈克，很快，她便发现，迈克和很多同他一样的边缘人们一起居住在一幢公寓中，贫穷和疾病深深困扰着他们。安东尼娅选择了隐瞒自己的真实身份，因为她有更重要的事情要做。
忌野清志郎
回复 :The story of La Maison revolves around 27-year-old Emma, a French woman who heads off to live in Berlin and decides to spend some time in a brothel so as to learn about and understand sex workers – women who are paid to be women and that alone, and who are set to form the focus of her new novel. In gonzo journalism style, Emma becomes one of them and ultimately remains with them for two years, despite only intending to stay for several weeks. Was writing her book simply a pretext for Emma to live out the type of fantasy that’s hard to admit to in our society? From one bedchamber to another and from one woman to the next, the film guides us through a “forbidden” world.
刘美君
回复 :Anna is becoming lost in the loneliness of her own world when she discovers she can visit another, a house she has drawn herself and occupied by a young disabled boy. But as she discovers more of the links between her fantasy world and the mundane present, she is drawn only deeper into a dream...
贾南
回复 :故事分成三個章節：主要的章節由高達親自飾演導演，正要趕乘飛機，在24小時內把一部電影的菲林交給監製；同時一隊二人流行電子音樂組合，不斷排練歌曲，最後在路上表演；另一邊廂，愚笨的大肥佬捲入一宗事件，被神秘女人密切監視，最後更被拘捕。三段故事看似毫無關連，實際是高達以電影來討論電影製作和藝術創作的重要。片名看似帶有弦外之音，就像高達暗示，假如監製或其他人要干擾導演的藝術創作，就索性我行我素，忠於自己的道路好了。這大概亦示範了高達如何純熟地運用電影媒體來做評論。A film in three chapters: Godard plays the director in the main chapter, rushing to catch a plane to pass the negatives to his producer within 24 hours; an electronic duo keeps rehearsing for their roadshow; a clumsy fat man gets involved in an incident, and is arrested after being watched by a mysterious woman. Seemingly unrelated events, Godard is discussing the importance of film producer and artistic creativity. Godard is making the statement that if a producer or anyone interferes with creativity, it is better for the artist to go one's own way. A showpiece of how Godard uses the film media as his critical essay.
